Dubbed a travel coat by artist and designer Christina Kim, this is a garment made for journeys long and far, both real and imagined, for traversing territories in the mind as much as in the physical world.
Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.
In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
The Back Side Story is a textile book/zine that, with cute and brightly-colored patchwork and embroidery, documents the civilians daily life, sufferings, and resilience under the Chinese government
Safely stored away during gallery renovations, all 196 pieces of RISD's Gilded Frost and Jet Chandelier by Dale Chihuly have been expertly reinstalled.
This rare example of Gorham's "Mythologique" flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.
The Museum recently acquired *Huevos de Los Angeles*, a collaborative work by two RISD alumni, Adam Silverman and David Wiseman. Here the artists describe how they created "eggs" to rival the most coveted variety.
Architects have been recognized as key figures in furniture design since the late 19th century, although they've certainly been designing furniture for far longer. But what compels them to do so?
A chance meeting between the wife of President Rutherford B. Hayes and Theodore Davis, an illustrator and journalist for "Harper's Weekly", in the White House conservatory produced one of the most extraordinary dinner services.
This fall the RISD Museum Lucy Truman Aldrich Porcelain Gallery reopened with its cabinets filled with engaging figures and a diverse array of tableware. Comprising nearly 180 objects from the museum's collection, this new installation focuses on the role that porcelain played in eighteenth-century life.
An eclectic mix of North African, Moorish, Middle Eastern, and Japanese aesthetics, this desk and table are the original creations of Italian designer Carlo Bugatti.
A wooden “do not touch” partition usually separates the period room in Pendleton House from the public. But one Monday in June, that partition was removed, and museum staff peopled the room.
